1. Describe what you do?
I've done a lot of things on sets - boom op, gaffer, key grip...
But what I'm doing now is writing, directing, producing, editing, promoting etc my own short films. I'm assuming as I go more and more I can have less responsibilities and focus more on the writing and directing and possibly editing side.
2. What do you enjoy most about your profession?
Those magic moments when you call action, the actors deliver, the shot comes off just how you hoped and you can't wait to cut it in.
3. What do you enjoy least?
Tough to say, I really enjoy most of it. I'd say at times its hard to convince first timers around you that its not all a waltz through the daisies and theres a lot of hard work behind it. Then they realize you're serious when you have a 6AM crew call and a 7AM cast call, and you work until 8PM.
4. What inspired you to become a director?
I saw several films when I was about 17 or 18 that completely changed my view of cinema, and it made me want to do great stuff like that.
5. What path did you take to get where you are today?
I worked hands on on my father's video productions from when I was about 8 up until I served as grip on a couple of shorts, then Key Grip on a feature shot in SoCal right after I made The Soup Party, and it won the local festival it was entered into in 2004. I've edited and produced a few feature length productions since (video/special interest stuff). I've been reading, studying and honing my craft since the day I left the set of TSP, prepping for my next one. I shot some 2nd unit for a feature thats coming out next year on DV, and I just wrapped shooting and now have a temp cut of my next short "High Fire Danger!", a slapstick comedy shot on 16mm reversal in the silent 1920's style.
6. Was it hard becoming a director?
Its hard taking the first step, like any big decision you make. I've always been a hard worker, and was a theater actor first and so I knew what it took and the hard work it takes. It's one thing to say "I want to be an actor", its quite another to audition, learn pages of script, rehearse, block, dance, sing, and then perform on a stage in front of hundreds. The same applies to directing, its one thing to say "I think I can direct and write", its quite another to come up with a good script, cast it, crew it, finance it, plan it, shoot it, cut it, score it, and finally promote it. It took some real gusto to get up my nerve to stop saying "I'm gonna do it this summer" and just realize that the timing is never right and just go and do it.
7. What, in your opinion, is the best educational preparation?
Hands on. Also READ BOOKS ON FILMMAKING. It may seem like an antiquated way of doing things, but believe me there is a lot to learn - the basics of it all, the basics of the industry, how the business works, pitfalls to avoid... these are things that you can either learn by screwing up on or you can read it from guys who have been and usually still are in prominent places in the industry.
School is and would be great if you had time and patience and money to blow on it. Me, I've spent less than the cost of a year or two in school and I've shot two shorts and acquired equipment and many hands on abilities you couldn't learn in school. But, I also haven't had the chance to get those contacts you can get through school, nor work with 35 mil so its a tradeoff. Personally, I dont regret my choice.
8. In spite of the difficulties, what makes you stay?
I love it. I mean, if I could be making movies, through pre-prod-post process all the time every day I would be in heaven. I like trying new things, and I have not yet really put my contemporary visionesque skills to work, which I will do soon, so I have many new things to try and conquer. Plus, although Ive been paid for practically every position and production Ive done except for The Soup Party, it hasn't been enough to call it a career. In filmmaking, if you are good and pull it off, it can be a sustaining or better career. Believe me, if there was no money to be made in it, I dont think I could ever devote so much time to it... I'm 23 and I have to think about eating just like the rest of civilization.
9. What is a common reason for directors to leave this field?
Failure. In some form. They fail launching their ideas, they fail in the practicing of their ideas, they fail on the back end. Their film(s) are flops. They are poor business people and either use their CC's to fund their film or get into legal trouble. I would assume most leave because they just reach the end of their road and dont see a forseeable future for themselves in the business.
10. How is this profession changing?
Its becoming easier for directors to get started with digital everything. It used to be you needed talent, a brain, some suave to get some money, and some real cajones to pull of a short film. Now you buy a $200 camera from walmart and some friends and now you think you're spielberg. Note thats not resentment, I swear, that's how it is. What I mean by that is, I think most first time filmmakers are making their stuff on DV because its affordable. Thats great, and understandable. But then they are also assuming their productions on DV are acceptable for cinematic runs and if they are good enough they're going to make a lot of money. When nothing could be further from the truth. I think someone said in another thread DV features are about as valuable as rat feces. Thats a harsh reality, and unfortunately I think many first time filmmakers are walking right into this brick wall thinking they could be on they way to Hollywood.
Also, because it used to be you needed some business sense to raise money for even your first production, now it can be made for cheap and so I think the business aspect is evading new filmmakers. Me, Ive owned businesses and been earning a living since 16 so I understand why you can't have handshake deals and take everyone who says "I can get you money for your enterprise" seriously.
But the business itself is indeed changing, and one of the things, perhaps the largest, thats changing is what happens from the post production process onwards.
Personally, I don't see digital acquisition becoming a preferred narrative aesthetic decision for budgets over 3mil for awhile. What I do see is every film getting a Digital Intermediate process thats over 3-5mil. Digital Intermediate is the process of scanning the film negatives into a computer (generallY) at a very high resolution and then the entire post production process is done with the film digitally. Usually at the end of this process the film is then laser scanned or put back onto film at a high resolution. At 4k res, the ease and flexibility to have your film digital - there is no comparison. Audio is better, Film is easier to grade (tweak), CGI and other effects as well as simple titles and transitions are much more precise and clearer. Also, the cost of this process can very well be less if you have a complicated film than doing the same the old fashioned way of negative cutting. What happens after the film is cut is changing too. Digital projection right now is already changing the industry as MANY of the higher budgeted films being produced are being projected digitally for screening audiences. Something needs to be changed? No problem, you can change it and have another screening that same DAY. That is incredible. I read a story about that happening with Martin and the Aviator, which made him a believer in digital projection.
But beyond screening, the resolution of high end digital projection has gotten to the point where it is completely possible for a film to be screened at a national cinema changing NEVER AGAIN ON FILM. We can only wonder how far this will go. Will 35mm projection go by the wayside soon? This could happen as the cost savings of eliminating 35mm prints alone should make distributers or studios purchase the projectors for the cinema chains. Will films be simply streamed over the internet to a cinema instead of them ever having a print of any type? That could happen easily too if you understand the internet (although we are a ways off of bandwith requirements).
One thing is for sure, it is changing at a rate not seen in the industry for quite awhile.
